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Auction Description for Barridoff: FINE AUCTION AMERICAN AND EUROPEAN ART
Viewing Notes:
Previews will be Tuesday, October 23rd from 6-8pm and Wednesday, October 24th from 10am to 5pm

FINE AUCTION AMERICAN AND EUROPEAN ART

by Barridoff Galleries


188 lots with images

October 24, 2012

Live Auction

Auction Location: Institute of Contemporary Art, Maine College of Art

The Porteous Building, 522 Congress St.

Portland, ME, 04101 USA

Phone: (207) 772-5011

Fax: (207) 772-5049

Email: fineart@barridoff.com

188 Lots
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Elisha Taylor Baker - 'The Three-Masted Schooner Rosa Eppinger'

Lot 1: Elisha Taylor Baker - 'The Three-Masted Schooner Rosa Eppinger'

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Description: Elisha Taylor Baker Am. 1827-1890 The Three-Masted Schooner Rosa Eppinger Oil on canvas 22 x 34 in. (55.9 x 86.4 cm) Property of a Maine family Provenance: By descent through the familyTo the current owner

Condition Report: Good condition, good appearance, not lined, dirty and untouched, some very minor surface problems which can be seen clearly in images in the catalogue and online, possible tear along the extreme edges where frame and canvas meet. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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James Buttersworth - 'New York Harbor'

Lot 2: James Buttersworth - 'New York Harbor'

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Description: James Buttersworth Am. 1817-1894 New York Harbor Signed "J. Buttersworth" l.r. Oil on Academy board 6 1/2 x 8 in. (16.5 x 20.3 cm)

Condition Report: Good condition, good appearance, One small area of paint loss, u.r. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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W. W. Sheppard - 'Three Masted Schooner'

Lot 3: W. W. Sheppard - 'Three Masted Schooner'

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Description: W. W. Sheppard Am. 19th C Three Masted Schooner Signed "W. W. Sheppard" l.r. Oil on canvas 12 x 16 in. (30.5 x 40.6 cm) Property of a Yarmouth, Maine family Provenance: By descent in the family

Condition Report: Good condition, good appearance, one small spot of restoration in the sky c.l. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Charles Robert Patterson - 'The SooLoo of Salem'

Lot 4: Charles Robert Patterson - 'The SooLoo of Salem'

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Description: Charles Robert Patterson Am. 1878-1958 The SooLoo of Salem Signed "Charles Robert Patterson" l.l. and titled ss above verso Oil on canvas 25 x 30 in. (63.5 x 76.2 cm)

Condition Report: Good condition, good appearance, not lined, no restoration, mint or nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Andreas Christian Riis Carstensen - 'Off Elsinore Castle, Kronborg, Denmark'

Lot 5: Andreas Christian Riis Carstensen - 'Off Elsinore Castle, Kronborg, Denmark'

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Description: Andreas Christian Riis Carstensen Danish 1844-1906 Off Elsinore Castle, Kronborg, Denmark Signed "Andreas Carstensen" l.r. Oil on canvas 22 x 32 1/2 in. (55.9 x 82.6 cm)

Condition Report: Good condition, good appearance, one small spot of restoration in the sky,u.r. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Francis

Lot 6: Francis "Monomy" Swaine - 'Harbor Scene'

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Description: Francis "Monomy" Swaine Br. ca. 1719-1782 Harbor Scene Signed "Monomy" by the artist and titled (illegibly) and signed again "Monomy" verso Oil on canvas 9 1/2 x 12 1/4 in. (24.1 x 31.1 cm)

Condition Report: Good condition, good appearance, probably in need of a surface cleaning Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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John Berney Ladbrooke - 'Mother and Child Near Home'

Lot 7: John Berney Ladbrooke - 'Mother and Child Near Home'

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Description: John Berney Ladbrooke Br. 1803-1879 Mother and Child Near Home Monogrammed and dated 1876 l.c. Oil on canvas 16 x 24 in. (40.6 x 61.0 cm) Property of the Dietrich Family, LLC., Brooksville, Maine

Condition Report: Good condition, good appearance, apparently untouched and in need of a surface cleaning, no restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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George M. Hathaway - 'A Pair of Portland Harbor Landmarks'

Lot 8: George M. Hathaway - 'A Pair of Portland Harbor Landmarks'

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Description: George M. Hathaway Am. 1852-1903 A Pair of Portland Harbor Landmarks Two oils on board 4 3/4 x 6 in. (12.1 x 15.2 cm)

Condition Report: Good condition, good appearance, no apparent restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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George M. Hathaway - 'The Portland Peninsula from the Harbor'

Lot 9: George M. Hathaway - 'The Portland Peninsula from the Harbor'

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Description: George M. Hathaway Am. 1852-1903 The Portland Peninsula from the Harbor Signed "G.M.Hathaway" l.l. Oil on board 6 x 10 1/4 in. (15.2 x 26.0 cm)

Condition Report: Good condition, good appearance, no apparent restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Augustus W. Buhler - 'Sailing off Thacher Island'

Lot 10: Augustus W. Buhler - 'Sailing off Thacher Island'

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Description: Augustus W. Buhler Am. 1853-1920 Sailing off Thacher Island Signed, titled, and dated "A. W. Buhler, Gloucester, 1913" l.l. Oil on canvas 45 x 35 in. (114.3 x 88.9 cm) Property of Stephanie Lugg, Newfield. Maine

Condition Report: Good condition, good appearance, not lined Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Hayley Lever - 'Tower Bridge, London'

Lot 11: Hayley Lever - 'Tower Bridge, London'

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Description: Hayley Lever Am. 1875-1958 Tower Bridge, London Signed "Hayley Lever" l.l. and signed "Hayley Lever" and inscribed in part "Cornwall" and in part illedgibly verso Oil on canvas 14 x 18 in. (35.6 x 45.7 cm) Property of Antoinette Gentempo, Wanaque, New Jersey

Condition Report: Almost untouched and in need of cleaning, very minor scattered loss or two, one minor repair by an amateur of about an inch backed by tape, also of little to no consequence, and a few scattered pinholes noticeable only when held up to light also of very little consequence. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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WITHDRAWN  Le Pho - 'Two Women'

Lot 12: WITHDRAWN Le Pho - 'Two Women'

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Description: In a verified email to Barridoff Galleries dated October 13, 2012, the artist's son, Pierre Le-Tan, has written that in his opinion this lot is not by Le Pho. Barridoff Galleries sent a request to Le-Tan in May but did not receive a reply until very recently, after a collector of Le Pho's work made contact with Le-Tan on or around October 13 and was able to show him images of Two Women. All other research strongly supports the auction attribution as follows: 1) Scientific analysis by Jennifer Mass, PhD, Scientific Analysis of Fine Art, LLC, Berwyn, Pennsylvania, commissioned by the consignor, has shown "Two Women" to predate a similar image (same pose and same subject) in the Singapore Museum. 2) The signature has been shown by Anthony Moore of Anthony Moore Painting Conservation to be original to the canvas. 3) It is a stronger and more personal image than the Singapore image. 4) "Two Women" is the much larger image of the two and unusually large for a Le Pho - somewhat unusual in a copy, especially one that has a very convincing signature and is therefore an image that was meant as a forgery. It therefore also seemed highly plausible that Le Pho had done two such similar images. It seems, at the very least, more a personal interpretation of the Singapore image than a copy. We apologize to the many people who have voiced interest in this fine and interesting work. Le Pho Vietnamese/Fr, 1907-2001 Two Women Signed Le pho; l.r. Oil on canvas 31 1/4 x 20 3/4 in. (79.4 x 52.7 cm) Property of a gentleman, Pennsylvania There are two versions of this painting. One of the thumbnails is the image of Harmony in Green: The Two Sisters in the Singapore Museum. The primary, larger image is the earlier version, the one at auction at Barridoff on Oct. 24. Although the two canvases are obviously related, the primary difference, aside from shape and size, is striking. The relationship between the two women during the ritual of applying lipstick in the earlier image illiustrated on the page opposite has been transformed from intense and ambiguous to tender and innocent, or, as its title confirms, sisterly. For that reason, we have chosen not to use the title of the later version found in both the Christie's catalogue of 1999 when it was last sold and as it remains titled today in the collection of the National Art Gallery, Singapore. The National Art Gallery dates its "Harmony in Green: The Two Sisters" to 1938. The current canvas was examined to determine a time frame by Jennifer Mass, PhD, Scientific Analysis of Fine Art, LLC, Berwyn, Pennsylvania. Her entire report is available online at barridoff.com or on request by email to fineart@barridoff. com. Her conclusion follows: The palette identified consists of zinc white (the ground), Prussian blue, an unidentified red lake (appears to be natural rather than synthetic based upon its absence of an FTIR signal), Hansa yellow, titanium dioxide white (anatase) and possibly cobalt yellow. The support is cotton canvas rather than silk as identified by FTIR. These materials used by Le Pho are consistent with his early period, as determined by the absence of phthalocyanine green pigment and the use of the anatase form of titanium dioxide, both of which date the painting to prior to 1938. The use of Hansa yellow means that the painting must postdate 1915.

Condition Report: Good condition in need of flattening of a vertical ridge, not lined, in need of surface cleaning and minor restoration, a triangular loss in upper left that can be seen in upper left of catalogue image, a few other minor scattered losses, no apparent restoration. VERSO IMAGE WHICH CAN BE SEEN HERE AS WELL: The canvas edges are wrapped around cardboard and only edges are taped. Canvas is not laid down. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Along the Gháts, Mathura'

Lot 13: Edwin Lord Weeks - 'Along the Gháts, Mathura'

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Description: Edwin Lord Weeks Am. 1849-1903 Along the Gháts, Mathura Signed E. L. Weeks l.l. Also bears the artist's stamp (circle and star) l.l. beneath the artist's first two initials Oil on canvas 25 3/4 x 32 in. (65.4 x 81.3 cm) Property of the Portland Public Library Ulrich W. Helsinger in his catalogue for the exhibition at Vance Jordan Fine Art Inc, Edwin Lord Weeks, Visions of India, page 9, New York, October 31-December 12, 2002 (a loan to the exhibition arranged by Barridoff Galleries)

Condition Report: This report, dated Sept. 12, 2012, was prepared by Anthony Moore of Anthony Moore Conservation: The painting is in excellent condition. It has been pasted-lined onto linen canvas and is structurally sound. There are fine visible stress cracks above the buildings at center and along the right edge. The painting has been cleaned evenly. There is a 1/2 inch square hole in the sky at the upper right that has been inpainted as well as minor inpainted losses in the sky at the upper right edge. There is inpaint at the edges of the upper and lower left edges as well as at the center of the right edge. There is a synthetic varnish over the surface. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Florida Everglades with Great Blue Heron'

Lot 14: Edwin Lord Weeks - 'Florida Everglades with Great Blue Heron'

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Description: Edwin Lord Weeks Am. 1849-1903 Florida Everglades with Great Blue Heron Signed and dated E. L. Weeks 1871; l.l. Oil on canvas 24 x 34 in. (61.0 x 86.4 cm) Property of Bernard Broder, Gorham, Maine (Please see lots 14-50, which is the Broder collection) Kathleen Duff Ganley in the catalogue essay for the University exhibition, Edwin Lord Weeks-His Art: It is in this painting [Florida Everglades with Great Blue Heron] that Weeks begins to develop his feel for light and sensuous material elements that became eloquent in his later works";. Other images of the Everglades in the Broder collection are dated 1871 and at least one from that date is specifically inscribed "Miami" Scholarly studies as well as links online routinely refer to the current work as a view of the Florida Everglades. Weeks is known to have traveled to the Florida Keys early in his career; and he is known to have produced fully realized paintings like the current example developed from earlier studies and sketches, He is known to have returned to Boston in the same year after also traveling to South America and Europe where he had studied with Bonnat. He undoubedly met and was influenced by Gérôme as well, but probably was never his student, as sometimes believed. Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: This report, dated October 22, 2012, was prepared by Anthony Moore of Anthony Moore Conservation: The painting is in excellent condition. It has been wax lined onto aluminum and linen canvas . There appear to have been two small puncture holes , one ¾" in tree line at left side, and the other ½"at the base of the tree at left side. There were flaking paint chips in the foreground lower left and in the shadow of the tree which has been inpainted. There was an abrasion in the tree line at the right side. A synthetic ketone varnish has been applied to the surface. PLEASE NOTE: This is an updated condition report. The original report, prepared in-house, had also been that the painting is in excellent condition, but it is in better condition than previously reported, per the above report from Moore.

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Edwin  Lord Weeks - 'Florida Everglades'

Lot 15: Edwin Lord Weeks - 'Florida Everglades'

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Description: Edwin Lord Weeks Am. 1849-1903 Florida Everglades, 1871 Dated "Dec. 26, 1871" l.l. Oil on canvas mounted on Masonite 12 x 8 in. (30.5 x 20.3 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Flowering Agave, Florida'

Lot 16: Edwin Lord Weeks - 'Flowering Agave, Florida'

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Description: Edwin Lord Weeks Am. 1849-1903 Flowering Agave, Florida Dated and inscribed "Jan. 20, '71, Miami" c.r. Oil on canvas mounted on Masonite 11 1/2 x 8 3/4 in. (29.2 x 22.2 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Outside the Walls'

Lot 17: Edwin Lord Weeks - 'Outside the Walls'

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Description: Edwin Lord Weeks Am. 1849-1903 Outside the Walls OIl on panel 9 7/8 x 14 in. (25.1 x 35.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, little to no restoration, possibly in need of cleaning Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Courtyard, North Africa (Formerly NearEast Courtyard)'

Lot 18: Edwin Lord Weeks - 'Courtyard, North Africa (Formerly NearEast Courtyard)'

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Description: Edwin Lord Weeks Am. 1849-1903 Courtyard, North Africa (Formerly Near East Courtyard) Watercolor 18 3/4 x 13 in. (47.6 x 33.0 cm) Property of Bernard Broder, Gorham, Maine Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #15 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, laid down on thin cardboard almost certainly original and more recently the cardboard laid down on a museum quality mat inserted into appropriate plastic corners, good color/possibly some minor aging, tear from the edge of about 2" above the left arch, visible in the illustration, little to no paint loss at the tear, possibly some other minor abrasion not immediately apparent and of little or no consequence including an insignificant paper loss at the extreme lower left corner, might clean some but appears as a very strong image in person. But for some more recent matting and framing of this lot and lot 18 by the current owner, these watercolors have been untouched for a century, largely in storage trunks and backs of closets, still very much intact with some minor restoration due depending on the taste of the owner. Very strong appearance in person. Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Arab Market'

Lot 19: Edwin Lord Weeks - 'Arab Market'

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Description: Edwin Lord Weeks Am. 1849-1903 Arab Market Watercolor 20 x 14 in. sight (50.8 x 35.6 cm) sight Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #17 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, not laid down, two museum quality hinges on the back at the top, tear with little or no paint loss that can be seen in the image from the right edge just above the start of the arch on the right and going diagonally toward center for about two inches with little or no paint loss, also a slight surface scratch also with little or no paint loss of about 2" in from the edge a few inches further down on the same side, little to no paint loss, good color/some minor aging. Insignificant paper loss at far extreme lower left corner and scattered paint loss at the extreme edges normally hidden by the mat (the latter therefore not visible in the images) Anything of significance is visible as described above in the image. But for more recent matting and framing of this lot and lot 18 by the current owner, these watercolors have been untouched for a century, largely in storage trunks and backs of closets, still very much intact with some minor restoration due depending on the taste of the owner. Might clean some but appears as a very strong image in person Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of an Arabian White Stallion (Formerly Study of a White Horse)'

Lot 20: Edwin Lord Weeks - 'Study of an Arabian White Stallion (Formerly Study of a White Horse)'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of an Arabian White Stallion (Formerly Study of a White Horse) Oil on canvas 15 x 19 in. (38.1 x 48.3 cm) Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, #1, lent by Burton W. F. Trafton, Jr., page 32, illustrated Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, lined, otherwise little to no restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin  Lord Weeks - 'Study of Seated Figure with Ox, North Africa'

Lot 21: Edwin Lord Weeks - 'Study of Seated Figure with Ox, North Africa'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of Seated Figure with Ox, North Africa Oil on canvas mounted on Masonite 5 x 8 1/2 in. (12.7 x 21.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron; and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India; and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Dusk'

Lot 22: Edwin Lord Weeks - 'Dusk'

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Description: Edwin Lord Weeks Am. 1849-1903 Dusk Oil on canvas mounted on Masonite 5 x 8 3/8 in. (12.7 x 21.3 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known - finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Seated Man in a Turban, North Africa'

Lot 23: Edwin Lord Weeks - 'Seated Man in a Turban, North Africa'

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Description: Edwin Lord Weeks Am. 1849-1903 Seated Man in a Turban, North Africa Oil on canvas mounted on Masonite 17 x 14 1/2 in. (43.2 x 36.8 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, lined on board, minor small area of restoration on body, none on head or turban, scattered minor areas of restoration in background Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'The Cowherd'

Lot 24: Edwin Lord Weeks - 'The Cowherd'

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Description: Edwin Lord Weeks Am. 1849-1903 The Cowherd Oil on canvas 7 x 9 1/2 in. (17.8 x 24.1 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, not lined, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin  Lord Weeks - 'Study of a White Horse '

Lot 25: Edwin Lord Weeks - 'Study of a White Horse '

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Description: Edwin Lord Weeks Am. 1849-1903 Study of a White Horse Oil on canvas mounted on Masonite 13 3/4 x 17 1/2 in. (34.9 x 44.5 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of a Brown Horse'

Lot 26: Edwin Lord Weeks - 'Study of a Brown Horse'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of a Brown Horse Oil on canvas mounted on Masonite 11 1/8 x 14 1/8 in. (28.3 x 35.9 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of a Brown and White Cow (formerly Study of Cow)'

Lot 27: Edwin Lord Weeks - 'Study of a Brown and White Cow (formerly Study of Cow)'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of a Brown and White Cow (formerly Study of Cow) Oil on canvas mounted on Masonite 7 x 11 in. (17.8 x 27.9 cm) Property of Bernard Broder, Gorham, Maine Provenance: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #36 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'White Cow'

Lot 28: Edwin Lord Weeks - 'White Cow'

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Description: Edwin Lord Weeks Am. 1949-1903 White Cow Oil on canvas mounted on Masonite 7 x 11 in. (17.8 x 27.9 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Young Water Buffalo'

Lot 29: Edwin Lord Weeks - 'Young Water Buffalo'

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Description: Edwin Lord Weeks Am. 1849-1903 Young Water Buffalo Oil on canvas mounted on Masonite 4 1/4 x 7 7/8 in. (10.8 x 20.0 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of a Ram'

Lot 30: Edwin Lord Weeks - 'Study of a Ram'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of a Ram Oil on canvas mounted on Masonite 11 1/2 x 15 in. (29.2 x 38.1 cm) Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #34, illustrated Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Donkey'

Lot 31: Edwin Lord Weeks - 'Donkey'

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Description: Edwin Lord Weeks Am. 1849-1903 Donkey Oil on canvas mounted on Masonite 11 x 14 in. (27.9 x 35.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, probably none Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Fanny, A Portrait of Frances Hale Weeks, the artist's wife'

Lot 32: Edwin Lord Weeks - 'Fanny, A Portrait of Frances Hale Weeks, the artist's wife'

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Description: Edwin Lord Weeks Am. 1849-1903 Fanny, A Portrait of Frances Hale Weeks, the artist's wife Oil on panel 10 3/4 x 6 3/4 in. (27.3 x 17.1 cm) Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903, catalogue for the exhibition above, University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, #11, illustrated Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - ' Veiled Girl of India'

Lot 33: Edwin Lord Weeks - ' Veiled Girl of India'

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Description: Edwin Lord Weeks Am. 1849-1903 Veiled Girl of India (It has been suggested that this image may be of a Bedouin, North Africa.) Oil on canvas 24 1/8 x 12 in. (61.3 x 30.5 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, lined, otherwise little or no restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'At the Shore on the Nile'

Lot 34: Edwin Lord Weeks - 'At the Shore on the Nile'

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Description: Edwin Lord Weeks Am. 1849-1903 At the Shore on the Nile Watercolor 11 x 15 1/4 in. (27.9 x 38.7 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, rough at the extreme edges beyond the image with three very minor tears at the edges into the margins, two of them very slightly into the images Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord  Weeks - 'Island Temple, Egypt'

Lot 35: Edwin Lord Weeks - 'Island Temple, Egypt'

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Description: Edwin Lord Weeks Am. 1849-1903 Island Temple, Egypt Oil on canvas mounted on Masonite 5 x 8 1/2 in. (12.7 x 21.6 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of Camels, North Africa,'

Lot 36: Edwin Lord Weeks - 'Study of Camels, North Africa,'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of Camels, North Africa, Oil on canvas mounted on Masonite 5 x 8 1/4 in. (12.7 x 21.0 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'White-Robed Man in a Turban on a Horse  Holding a Rifle'

Lot 37: Edwin Lord Weeks - 'White-Robed Man in a Turban on a Horse Holding a Rifle'

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Description: Edwin Lord Weeks Am. 1849-1903 White-Robed Man in a Turban on a Horse Holding a Rifle Oil and graphite on paper 18 x 14 1/4 in. (45.7 x 36.2 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, not examined out of frame Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin  Lord Weeks - 'At Table, A Study'

Lot 38: Edwin Lord Weeks - 'At Table, A Study'

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Description: Edwin Lord Weeks Am. 1849-1903 At Table, A Study Oil on canvas 15 x 18 1/8 in. (38.1 x 46.0 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, not lined, little to no restoration, mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord  Weeks - 'Trees and Wall of Jerusalem. formerly Trees of Jerusalem'

Lot 39: Edwin Lord Weeks - 'Trees and Wall of Jerusalem. formerly Trees of Jerusalem'

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Description: Edwin Lord Weeks Am. 1849-1903 Trees and Wall of Jerusalem. formerly Trees of Jerusalem inscribed "Jerusalem, Oct.8" l.l. Graphite 10 1/2 x 14 1/2 in. (26.7 x 36.8 cm) Property of Bernard Broder, Gorham, Maine Provenance: Literature and Exhibition: The Art of Edwin Lord Weeks (1849-1903), University Art Galleries, University of New Hampshire, Durham, New Hampshire 1976, lent by Burton W. F. Trafton, Jr., #23 Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, not laid down Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Shoreline'

Lot 40: Edwin Lord Weeks - 'Shoreline'

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Description: Edwin Lord Weeks Am. 1849-1903 Shoreline Signed "ELW" and dated illegibly l.r. Watercolor 6 1/2 x 9 1/4 in. (16.5 x 23.5 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, some minor soiling, possibly in need of cleaning Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Figure on a Forest Path'

Lot 41: Edwin Lord Weeks - 'Figure on a Forest Path'

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Description: Edwin Lord Weeks Am. 1849-1903 Figure on a Forest Path Oil on canvas mounted on Masonite 14 x 11 in. (35.6 x 27.9 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Orchard in Blossom'

Lot 42: Edwin Lord Weeks - 'Orchard in Blossom'

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Description: Edwin Lord Weeks Am. 1849-1903 Orchard in Blossom Oil on paper mounted on paper 9 x 12 3/4 in. (22.9 x 32.4 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin  Lord Weeks - 'Figures in a Grove of Trees, Morocco'

Lot 43: Edwin Lord Weeks - 'Figures in a Grove of Trees, Morocco'

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Description: Edwin Lord Weeks Am. 1849-1903 Figures in a Grove of Trees, Morocco Oil on canvas 15 x 24 in. (38.1 x 61.0 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, lined, little to no restoration otherwise Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord  Weeks - 'Woman with a Hoe'

Lot 44: Edwin Lord Weeks - 'Woman with a Hoe'

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Description: Edwin Lord Weeks Am. 1849-1903 Woman with a Hoe Monogrammed "ELW" l.r. Oil on paper mounted on board 11 1/2 x 10 1/2 in. (29.2 x 26.7 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, very minor scattered paper splits with no apparent loss, noticeable in image with very close inspection, no apparent restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Study of a Man Seated By the Shore'

Lot 45: Edwin Lord Weeks - 'Study of a Man Seated By the Shore'

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Description: Edwin Lord Weeks Am. 1849-1903 Study of a Man Seated By the Shore Oil on paper mounted on board 10 1/4 x 10 in. (26.0 x 25.4 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, very minor scattered paper splits with no apparent loss, noticeable in image with very close inspection, no apparent restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'New England Meadow with Trees and Spires'

Lot 46: Edwin Lord Weeks - 'New England Meadow with Trees and Spires'

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Description: Edwin Lord Weeks Am. 1849-1903 New England Meadow with Trees and Spires Oil on canvas mounted on Masonite 8 x 12 in. (20.3 x 30.5 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Passing Storm'

Lot 47: Edwin Lord Weeks - 'Passing Storm'

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Description: Edwin Lord Weeks Am. 1849-1903 Passing Storm Oil on canvas mounted on Masonite 9 3/4 x 13 1/4 in. (24.8 x 33.7 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Florida Autumn'

Lot 48: Edwin Lord Weeks - 'Florida Autumn'

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Description: Edwin Lord Weeks Am. 1849-1903 Florida Autumn Oil on canvas mounted on Masonite 8 1/2 x 12 in. (21.6 x 30.5 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good condition, good appearance, little to no restoration, appears to be mint or very nearly mint Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Stairway, India'

Lot 49: Edwin Lord Weeks - 'Stairway, India'

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Description: Edwin Lord Weeks Am. 1849-1903 Stairway, India Oil on canvas 17 x 12 7/8 in. (43.2 x 32.7 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known?-f?inely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India&, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good appearance, good condition, lined, otherwise little to no restoration (probably none at all) Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

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Edwin Lord Weeks - 'Portrait of a Turbaned Man'

Lot 50: Edwin Lord Weeks - 'Portrait of a Turbaned Man'

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Description: Edwin Lord Weeks Am. 1849-1903 Portrait of a Turbaned Man Oil on canvas mounted on Masonite 15 x 10 in. (38.1 x 25.4 cm) Property of Bernard Broder, Gorham, Maine Ellen K. Morris, PhD, who is currently preparing a catalogue raisonné of the artist writes about the Broder collection (lots 14-50) as follows: Comparatively little is known or understood of Edwin Lord Weeks' earliest works. In part, this must be because many of them fall outside the context of the works for which the artist is primarily known-finely rendered works recording his travels in North Africa, India and Persia. But the early works also remain more obscure because so many of them have been held by Weeks' extended family and rarely come to market. This group of works is therefore all the more remarkable in its scope and breadth. These rarely-seen early paintings demonstrate Weeks' raw talent, and significantly contribute to our understanding of the artist's development. Indeed, these early works make it apparent why Weeks was able to develop his mature style so rapidly. They demonstrate that he possessed substantial artistic abilities even before his training in Paris, and they document that his habit of sketching in oil, in situ, was one that he developed early in his career. Specifically, the Florida paintings serve to explain why Weeks' mature works largely manage to avoid the stiffness of many of his academic orientalist contemporaries. These early works demonstrate how much of Weeks' style predated--and transcended--his formal academic education. Indeed, in documented early examples such as Florida Everglades with Great Blue Heron and Flowering Agave, Florida we see Weeks already handling foliage in the loose 'painterly' manner that would distinguish his work throughout his career. It's difficult to overstate the importance of this quantity of studies. Academic paintings are primarily known through finished works; rarely are the studies for those paintings accorded the significance they merit, and rarely are they seen in number. Yet here we have a trove of studies--the raw materials of academic painting--the architecture, landscapes, figures and animals that were typically sketched individually and brought together only in finished studio works. Whether due to the estate sale following his untimely death, or the diligent stewardship of his extended family, Weeks' studies are somewhat more common on the market than those of his contemporaries. But even accounting for this, the quantity and breadth of studies and preliminary works here is remarkable, ranging as they do from the earliest of his work all the way to the end of his career. Such studies reflect an appealing immediacy, even as they demand a certain level of connoisseurship to fully appreciate. It's easier to dismiss a study such as White-Robed Man in a Turban on a Horse as an unfinished cartoon than it is to see it as the important window into an artist's working method that it truly is. And preliminary works like Outside the Walls, Stairway, India, and At Table, A Study highlight how fundamental the rendering of light and shadow was to Weeks' selection of subjects and compositions. Thus the breadth and depth of the works here affords a rare behind-the-scenes view of Weeks' working method, from composition to rendering of detail. In that, this large group of studies adds immeasurably to our understanding of the artist's body of work.

Condition Report: Good aoppearance, good condition, lined, otherwise little to no restoration Please be sure to read the disclaimer in our auction terms. It may be very helpful in explaining how we judge condition and interpreting what we mean by certain words or phrases that may be a kind of shorthand for longer explanations.

View additional info and full condition report »
Realized: Log in or create account to view price data
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